A class room separated by some wooden boards

The Need for Separatism?

By Rachel Epp Buller

Last weekend I attended the 3rd annual Feminist Art History Conference at American University in Washington, D.C. While it was great to be surrounded by scholars with similar research interests, I found myself wondering how much longer we (as feminist scholars) will feel the need for a separate sphere, so to speak.

To be sure, conferences and organizations devoted to women’s histories have performed, and continue to perform, important roles. We offer alternative voices to patriarchal histories, not only recuperating individual women but reexamining through the lens of gender the kinds of histories that are told. We make visible marginalized herstories.

Colorful painting of 1970's LA

Are We Stuck in the 1970s?

By Rachel Epp Buller

Having made and studied art for quite a few years now, I find that issues in contemporary culture often lead my mind to wander to art historical references. “Binders full of women,” equal pay for equal work, reproductive rights – it all leads me back to art. For instance, over the centuries we’ve seen a consistent historical pattern of interest among male artists in representing the vagina – Leonardo da Vinci, Gustave Courbet, Egon Schiele, Gustav Klimt, Christian Schad, to name only a few (see also TimeOut New York’s recent survey of the vagina in art, heavily populated by male artists). But it’s only in recent decades that women artists have turned to the vagina as subject (object?).

Breast is Best… in Art?

Breasts are everywhere in popular culture. This is nothing new. And yet I’ve been struck in recent years by the resurgence of the breastfeeding body in visual culture and contemporary art. It’s apparently a big deal (i.e., magazine-cover newsworthy) that Salma Hayek, Alanis Morrisette, Tori Spelling, Kourtney Kardashian, Angelina Jolie, Christina Aguilera, and many other celebrities breastfeed their babies.